ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

More documents

Recommendations

Info

--------- “The Self-Conscious Narrator in Comic Fiction BeforeTristram Shandy.” PMLA 67 (1952): 163-185. Web. Bosch, Rene. Labyrinth of Digressions: Tristram Shandy as Perceived and Influenced by Sterne's Early Imitators. Amsterdam: Rodopi, 2007. Print. Bowden, Martha F. “The Interdependence of Women in Tristram Shandy: A Chapter of Eyes, Sausages, and Sciatica.” ELN 31 (1994): 40-47. Print. Bowen, Scarlet. "Introduction. “The Politics of Custom in Eighteenth-Century British Fiction.New York: Palgrave MacMillan, 2010. 1-21. Print. Brady, Ben. Principles of Adaptation for Film and Television. Austin: University of Texas Press, 1994. Print. Brewer, E. Cobham. Dictionary of Phrase and Fable. London: Cassell, Petter, and Galpin, 1870. Web. Browning, John Dudley. Biography in the 18 th Century. New York: Garland Publishing, 1980. Print. Brady, Frank. “Tristram Shandy, Sexuality, Morality, and Sensibility.”Eighteenth- Century Studies 4 (1970): 41-56. Web. Carrier, David. The Aesthetics of Comics. University Park: Pennsylvania State UP, 2000. Print. Cash, Arthur H. “The Sermon in Tristram Shandy.”ELH (1964): 395-417. Print. --------- Laurence Sterne: The Later Years. New York: Routledge, 1992. Print. Cazamian, Louis Francois. The Development of English Humour. Durham: Duke University Press, 1952. Print. Conrad, Peter. Shandyism: The Character of Romantic Irony. Lanham: Barnes & 98
Noble, 1978. Print. Corliss, Richard. “A Taste of Vintage Shandy.” Time. 22 January 2006. Web. Day, W.G. “The Marbled Leaf.” Library 27 (1972): 143-145. Print. Descargues, Madeline. “In Pursuit of Sterne’s Epistolary Persona.” The Shandean. 5 (1997): 167-180. Print. DeVoogd, Peter Jan. “Sterne and Visual Culture.” The Cambridge Companion to Laurence Sterne. Ed. Thomas Keymer. Cambridge: Cambridge UP, 2009. 142- 159. Print. --------- “Tristram Shandy as Aesthetic Object.”Word and Image 4 (1988): 383-392. Print. --------- “Sterne All the Fashion: A Sentimental Fan.” The Shandean 8 (1996): 133- 136. Print. Duncan, Randy and Matthew J. Smith. The Power of Comics: History, Form, and Culture. New York: Continuum, 2009. Print. Ebert, Roger. “Tristram Shandy: A Cock and Bull Story” Roger Ebert. 17 February 2006. Web. Eisener, Will. Graphic Storytelling and Visual Narrative. New York: WW Norton, 2008. Print. Eliot, T.S. “Ulysses, Order, and Myth.” Selected Prose of T.S. Eliot. Ed. Frank Kermode. London: Faber and Faber, 1975. 175-178. Print. Elleström, Lars. "The Modalities of Media: A Model for Understanding Intermedial Relations." Media Borders, Multimodality and Intermediality. Ed. Lars Elleström. New York: Palgrave MacMillan, 2010. 11-50. Print. 99
Page 1 and 2:
ADAPTING TRISTRAM SHANDY by Adria Y
Page 3 and 4:
AUTHOR: Adria Young TITLE: Adapting
Page 5 and 6:
TABLE OF CONTENTS LIST OF FIGURES v
Page 7 and 8:
ABSTRACT Laurence Sterne’s The Li
Page 9 and 10:
CHAPTER 1: INTRODUCTION Given its r
Page 11 and 12:
notion of a literal fidelity” (7)
Page 13 and 14:
Cruel Intentions (Kumble 1999), and
Page 15 and 16:
narrative in the same way that Ster
Page 17 and 18:
CHAPTER 2: ADAPTING THE SHANDEAN Of
Page 19 and 20:
The critical tradition surrounding
Page 21 and 22:
digressive, and it is progressive,
Page 23 and 24:
contexts and manipulated to a great
Page 25 and 26:
Shandean, and are hitherto unseen t
Page 27 and 28:
and sale occupied less than five pe
Page 29 and 30:
(Sterne 580). Neither do we receive
Page 31 and 32:
himself was dying of, and died from
Page 33 and 34:
“new depth” and it was Sterne w
Page 35 and 36:
Widow Wadman’s preoccupation with
Page 37 and 38:
(Sterne 472), alluding to both the
Page 39 and 40:
to adaptation are the method or the
Page 41 and 42:
Hutcheon’ s theory effectively si
Page 43 and 44:
about the act of reading the novel.
Page 45 and 46:
(Weiner 17). Critics began to value
Page 47 and 48:
Figure 4.Rowson's homage to Gin Lan
Page 49 and 50:
work, aided by the relationship bet
Page 51 and 52:
adaptation is in the “mixture of
Page 53 and 54:
(Rowson np), as a reference to Joyc
Page 55 and 56: Commentary about Tristram Shandy mi
Page 57 and 58: or does not relate at all; however,
Page 59 and 60: Sentimental Journey as a textual
Page 61 and 62: Yorick is drawn as the likeness of
Page 63 and 64: spirits” (Sterne 1.1), and thus a
Page 65 and 66: Rowson also illustrates context via
Page 67 and 68: andRowson and Pete are drawn in a p
Page 69 and 70: we are aware that we are watching a
Page 71 and 72: critically approached. Fidelity as
Page 73 and 74: critical interpretation (what ideol
Page 75 and 76: associations and recognitions made
Page 77 and 78: etween chapters and volumes (just a
Page 79 and 80: fictionalized autobiography, and Wi
Page 81 and 82: cutting room floor (even though we
Page 83 and 84: fucking camera! He can be emotional
Page 85 and 86: at “realism.” Coogan replies,
Page 87 and 88: [Al] Pacino stand in for [David] Ga
Page 89 and 90: properties of different media make
Page 91 and 92: modes and conventions. On the abstr
Page 93 and 94: fictional autobiography, a military
Page 95 and 96: Figure 21: The final page of Rowson
Page 97 and 98: 11 Even this is tricky, and potenti
Page 99 and 100: 36 See Melvyn New. “Job’s Wife
Page 101 and 102: 59 Sterne had many Modern and Postm
Page 103 and 104: 86 That is, the “lack of formula
Page 105: � Bibliography Allen, Dennis W.
Page 109 and 110: Joyce Goggin and Dan Hassler-Forres
Page 111 and 112: Hutcheon, Linda. A Theory of Adapta
Page 113 and 114: McFarlane, Brian. “Part I: Backgr
Page 115 and 116: ---------- “Interview with Alex F
Page 117: University of Adelaide, 2011. Web.
show all

ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

Create successful ePaper yourself

Delete template?

Save as template?